What does bb3 in the answer for how to solve the isis puzzle mean?

How do you solve the isis puzzle?

the answer is only 10 min long ands super easy!!!!!!!!!!!!!!The clues are key. thay may seem cryptic,. it takes about 10 min. to open the isis once you know how.as clue 4 suggests, the rings don't do much.the only other thing im gonna tell you is to release bb3, you must bash it plunger up, then move bb3 into the middle of the maze. that's it--Actually, here goes. 1:st, plunger up and, as said, bash it quite hard (to release a small metal ball that will then fall from its hanging position by a magnet. This ball will then fall down into a hole in a base plate (the base plate is the locking mechanism). After this banging, you need to rotate the orb in air in order for the small ball to end up in the center of the plate. Do that. Try to see if you are sucsessful in doing that by pressing the button, if the button goes only half way down you are good. If not,(the button goes all the way, bad) keep rotating. When sucsessful keep the button down, turn the orb around. When doing this, the plunger actually holds the ball still in its centre. When upside down, rotate the orb so that two other balls fall into their crevices. Now, final step! Press the button all the way up! This will now lift the locking plate so that it's freeing the locking. Turn the ball around again holding down the button. Release it slowly. Now be very careful! Do not bump the orb at all, start unscrewing it slowly and carefully. There you go! That's the secret of the ISIS I.On the same subject; how to reset your puzzle ball? First of all: keep the ball in the plate! If you remove it, you will never be able to reopen your puzzle (unless sending it in to Sonicwarp, where they probably will use a slinshot centrifugal).If you remove the locking plate, make sure that the hole aligns to the outer marking! And; maker extremely sure that the 2 balls are in different grooves! If they are in the same groove, one will always stop you from opening your orb again! Ever. You can actually test that you have got this right; rotate the half by its own and, then press the locking plate up. If it goes up fluch, then you are good. By removing the balls you remove this 'switch', making it a little bit easier to reopen your orb!

Can you bypass pressure switch on vtec solenoid?

It really depends on what ECU you have: On OBD1 ECU splice the D6 VTM wire onto the A4 VTS wire. On OBD2 ECU splce the C15 VTM wire onto the A8 VTS wire. My car is BB3 F20 OBD1 chassis with a P13 OBD1 ECU. My engine is an H22 OBD2 which came with no VTEC oil pressure sensor. I spliced the D6 VTM wire onto A4 VTS wire and hey presto, VTEC heaven. :D

What is the difference between a German clarinet and a regular clarinet?

If by regular clarinet you mean Boehm System, then the difference is primarily between the schools in which they were developed. The German clarinet or Oehler system is a direct derivative of the clarinets that were in use through all of music history all the way from the clarinet's beginnings in the late baroque era. The Boehm system is based on the flute fingering system of the same name developed in France at the Paris conservatory in conjunction with Klose the writer of the celebrated clarinet method. In more practical terms the two clarinets have many similarities but disagree on notes such as B3 and Bb3 as well as F5 and F#5 as well as a number of less frequently used fingerings and trills. Also, the Oehler system has the great bonus of having every one of its keys above the water line so none of them ever become clogged with spit or condensation during long periods of play. The Boehm system does not have this luxury.

What are the solfége syllables?

The solfége syllables (solfeggio, IT) are syllables assigned to the notes of the scale.The origin of the syllabic identification of pitch goes back to Guido d'Arezzo, a monk who was assigned to the job of teaching younger monks their chants. At this time (Guido lived from somewhere around 992 to after 1033AD) memorization of chants was done aurally, with no mnemonic system. Guido is believed by some to have composed a hymn, with each succeeding half-line starting on a rising step of the scale. The words of the hymn were:Ut queant laxisresonare fibris,Mira gestorumfamuli tuorum,Solve pollutilabii reatum,Sancte Iohannes.I have italicized and underlined the first syllable of each half-line (hemistich), which became the names of the notes: ut, re, mi, fa, sol, la. There are only six of them, and much of music theory for the next six centuries would be based on the hexachord, which is this string of six notes.The Medieval and Renaissance music theory system named notes by a combination of syllables. This was created as an extension to the hexachord, to create an individual name for each note from Gamma, which would sit on the bottom line of our modern Grand Staff, to the note that now occupies the top line.Here is a table of the notes, showing their hexachords:G-E C-A F-D hard natural soft note name E5 E la -- -- Ela D5 D sol -- la Dlasol C5 C fa -- sol Csolfa B4 B mi -- -- Bmi Bb4 B -- -- fa Bfa A4 A re la mi Alamire G4 G ut sol re Gsolreut F4 F -- fa ut Ffaut E4 E la mi -- Elami D4 D sol re la Dlasolre C4 C fa ut sol Csolfaut B3 B mi -- -- Bmi Bb3 B -- -- fa Bfa A3 A re la mi Alamire G3 G ut sol re Gsolreut F3 F -- fa ut Ffaut E3 E la mi Elami D3 D sol re Dsolre C3 C fa ut Cfaut B2 B mi Bmi A2 A re Are G2 Gammaut GammautThe range of notes encompassed the entire range of usable male vocal notes, and the term Gamut (from Gam-Ut) is now used to describe the entire range of something. The name of each note comes from reading across the gam-ut, starting with the letter, then each syllable from the hexachords Gamma-ut (here spelled without the hyphen) is the lowest note in common usage, roughly the bottom of a Male bass voice range. e-la is the highest. (Latin sylables are pronounced separately, so "Csolfaut" is "C-sol-fa-ut", not kasolfowt.) There are three basic hexachords, starting from Gam-ut, C fa ut, and F fa ut. (ut in each case tells us that this is the first note of one of the hexachords.) The hexachord on G (G, A, B, C, D, E) was considered 'hard', the hexachord on C, natural, and that on F, soft. Each note has an individual name, so the octaves of C are C-fa-ut, C-sol-fa-ut, and C-sol-fa-ut. We have it much easier today!In the 17th century, theorist Giovanni Battista Doni replaced "ut" with "Do" for singing (from his own family name) because of the more resonant sound provided by "o" over "uh". This has stuck in many countries, and is now considered the syllable for C, or for the tonic in "Moveable Do" systems.In the 19th century, a seventh syllable was added for the 'leading tone', synthesized from the first letters of the last hemistich "Sancte Iohannes" (Medieval Church Latin lacking the "J" letter form): si. This was not immediately adopted, and though it is now considered part of the solfeggio, it is spelled ti, allowing the notes to be uniquely identified by the starting letter (i.e., avoiding the Sol/Si collision).Some have added a system for indicating sharps and flats by changing the vowel in the syllable, as well, or by adding the word "sharp" or "flat" to the solfeg syllable.

What types of ensembles use the trumpet?

IntroductionBand parents need to know about tubas. Producing a sound of unparalleled power, grandeur and nobility the tuba is unique among musical instruments in its flexibility and suppleness. The tuba is properly used in all forms of music and is never out of place. The student of orchestration can not go wrong using tubas since it is all but impossible to over use them (under use of tubas is a far more common fault among novice orchestrators). So pleasing is the sound of the tuba that many mediocre scores have been raised to near greatness by the abundant use of tubas in the instrumentation. Effective orchestrators make as much use as possible of the tuba. "Troppo" is an adjective that quite simply does not apply to the tuba.Portrait of the Author as a Young ManHistoryTubas were the last instruments added to the modern orchestra. This was because the tuba is the most highly advanced acoustical instrument and could be created only after the other traditional orchestra instruments. It was from a knowledge of their faults and limitations that the conception of the far more perfect instrument, the tuba, was developed. This perfection is evident in the make-up of orchestras where several of each of the lesser instruments (up to 30 in the case of violins) are needed but just one tuba is sufficient.The modern valved tuba dates from 1842 and was developed by Adolphe Sax in a desperate (and successful) attempt to expiate his guilt for inventing the saxophone two years earlier. It is no accident that most great orchestral music was written after 1842. Modern musicologists can only wonder that 18th century composers such as Bach, Mozart and Haydn were able to write so much (more or less) serviceable music while lacking tubas.A.W. von Faensterwald has reviewed all of Mozart's orchestral and operatic works and identified thousands of places where Mozart was clearly (unconsciously?) struggling to compensate in his orchestrations for a missing instrument which we now know was the tuba. How great a composer Mozart might have been had he lived a little later or the tuba appeared earlier we can only imagine. (Herr Prof. Dr. von Faensterwald and his colleagues at the European Tuba Institute in Vienna are currently preparing a corrected edition of the complete works of Mozart incorporating tubas. The new editions, destined to quickly supplant those now in use, will have K. numbers ending in "T", for example Symphony #40 in G minor K. 440T, the four Tuba Concertos K. 412T, 417T, 447T, 495T and the opera "The Magic Tuba" K. 620T.)Tuba TypesThe most common tuba is the upright bell model available in four keys, BBb, CC, Eb, and F. Each of these has its own characteristic sound quality. Tubas in each key are now made in a range of sizes- 3/4 (small horns for students), 4/4 and 5/4 (for normal size players), 6/4 and even 7/4 (whose makers apparently anticipate a large increase in human stature and wish to protect their tuba's future resale value). Tubing bore, bell size and weight all increase in larger sizes. The sound becomes darker and deeper. It was once customary to write just a "tuba" part and leave it to the player to select the type of tuba to use. The tuba savvy modern composer will take the trouble to specify the key and size of the tuba in order to insure a performance as close as possible to his/her intentions.BBb Tubas These are the largest standard tubas and are the natural basses of the brass family of instruments and of music in general. Tubas are more powerful and have infinitely richer tone than string basses, contra-bassoons or octo-contra-bass clarinets. Only the largest pipe organs can compete with the tuba in bass sonority but they are costly and lack portability. BBb contrabass tubas produce the richest sound of any tuba and have the lowest range. They are the standard for use in concert and symphonic bands (which as Percy Grainger has written are better balanced and more flexible ensembles than symphony orchestras). It is truly difficult to adequately describe the greatness of BBb tubas in mere words. (Shakespeare might have done it.) Students must develop a personal familiarity with BBb tubas as early as possible in their musical careers.CC Tubas Pitched a whole tone higher than the BBb tuba the CC tuba has become popular among tubists who (presumably for economic reasons) frequently play in symphony orchestras. The stringed instruments used in orchestras are notoriously limited and inflexible. Most music for them has been written in sharp keys to make things easier for the players. Furthermore, string players often play sharp in an attempt to compensate for the annoying scratchy tonal quality of their instruments. (see note on pitch below). Orchestra tuba players, with a generosity which reflects the nobility of their instruments, force their horns to produce notes significantly out of tune with the tuba's perfect natural intonation in order to mask the strings' imperfections. The CC tuba being two sharps sharper than the BBb tuba makes this easier to do (but no less vexing for the tubist).The many drawbacks of the CC tuba include a lack of the lowest notes (although extra valves are now usually included in an attempt to give the CC tuba the full BBb range) and a smaller sound (this, sadly, is considered to be an advantage by string players). As the popularity of symphony orchestras continues to decline it is likely that CC tubas will disappear as have the sarrusophone, ophicleide and C melody saxophone."Standard pitch" has varied widely. In PT (Pre-Tuba) times the treble staff A has been as low as 404 Hz (in Paris in 1699). Handel's tuning fork dated 1740 is set at 416. The striving of string players for sharpness pushed this to a ridiculous 448 by 1858. The next year under the improving influence of the tuba the French adopted a standard of 435. The United States followed suit in 1891 and A 435 came to be called International Pitch. String players led by anarchist xenophobes resisted and concert pitch rose again first to 440 and now to 442 or even 444.Portrait of the Authorin Middle-AgeEb Tubas Also called Bombardons (although not very often) these small tubas were widely used in bands in the late 1800's and early 1900's. No one seems to remember why.F Tubas Not so much tubas as overgrown Euphoniums, F Tubas were developed to make it easier for tubists to play the very high tuba parts common in French orchestral music. They completely lack the lower register which is the non plus ultra of the true tuba. However they can, when well played, display a firmness of tone that shows what French horns should sound like but don't. They do add a sometimes useful "tenor" voice to tuba ensembles.Tuba Usage in BandsJohn Philip Sousa suggested that, in bands, there be one tuba for every 10 other instruments. This number of tubas is surely too few. Sousa was undoubtedly referring to outdoor marching conditions where treble sounds quickly attenuate permitting tuba sound to shine through. For indoor concert conditions a ratio of one tuba for every 5 other instruments is a better rule of thumb (more if Eb tubas are used). In a pinch fewer tubas may be used if they have front facing bells. A traditional basic concert band or wind ensemble would contain:*When these instruments are not available it is good practice to substitute tubas3 1st Clarinets in Bb3 2nd Clarinets in Bb3 3rd Clarinets in Bb1 Alto Clarinet in Eb1 Bass Clarinet in Bb*2 Oboes in C2 1st Flutes in C2 2nd Flutes in C (one doubling piccolo)1 1st Alto Saxophone in Eb1 2nd Alto Saxophone in Eb1 Tenor Saxophone in Bb1 Baritone Saxophone in Eb*1 1st Bassoon*1 2nd Bassoon*2 1st Cornets in Bb2 2nd Cornets in Bb2 3rd Cornets in Bb2 Trumpets in Bb (doubling fluegelhorn)2 1st/2nd French horns2 3rd/4th French horns1 1st Trombone1 2nd Trombone1 Bass trombone*2 Euphoniums in Bb*11 Tubas in BBb (and possibly some more in Eb for balance)A few percussionistsTo this a symphonic band would add:1 Clarinet in Eb1 Contrabass Clarinet in Bb*1 Alto flute in G1 English Horn in C1 Contra bassoon*1 Soprano saxophone1 or 2 String Basses*Several more tubasTubas in OrchestrasIn orchestras the tuba is a solo instrument (the mundane bass line chores being relegated to string basses). Only one tuba is used. Since most of the other instruments are strings one tuba is all that is needed.Tuba EnsemblesAll-tuba ensembles have become increasingly popular as the musical taste of the public has developed and matured. Early tuba ensembles played music in four parts the higher two parts being played on euphoniums and the lower two parts on tubas. The modern tuba ensemble is a true all-tuba orchestra and is capable of playing music as demanding and involved as any symphony orchestra.A well balanced tuba ensemblewould include:5 1st F Tubas5 2nd F Tubas5 3rd F Tubas (sometimes play con sordino)4 1st Eb Tubas4 2nd Eb Tubas (sometimes play con sordino)3 1st C Tubas3 2nd C Tubas (sometimes play con sordino)3 1st BBb Tubas3 2nd BBb Tubas (sometimes play con sordino)4 Eb Sousaphones (or Helicons)4 BBb Sousaphones (brass)2 BBb Sousaphones (resin) (though inferior of tone,"plastic" sousaphones are useful for certain special effects)Watch This Space!ComingSoon!(Probably after chaperoning onemore overnight band trip.)Portrait of the Author in Old AgeSpecialty TubasBell front (recording) tubas- These are otherwise upright tubas with a front facing bell designed to project the sound forward. They were originally intended for use in the making of acoustic recordings where the primitive recording equipment had difficulty picking up the tuba sound. They are still in use today in bands which do not have enough tubas.Helicons and Sousaphones- If tubas have any drawback at all it is that they are somewhat large and heavy. This is a problem mostly in marching. During the days of the great marching bands the first solution was to attach straps to tubas to assist the players in carrying them. This moved the center of gravity of the player so far forward that tripping accidents became all too common. The first attempt at a true marching tuba was the helicon in which the instrument's tubing was coiled to fit around the player resting the weight of the horn on the left shoulder. Helicons had a fixed, often upright, bell. An improvement on the helicon (attributed to and named after John Philip Sousa) was the sousaphone which also coiled about the player but had an adjustable front facing bell. For years the sousaphone has reigned supreme on the streets and football fields of America (as long as the winds are not too strong). Recently, however, a new attempt has been made to create a marching tuba by moving the leader pipe and mouthpiece so that the tuba can be carried on the left shoulder.Poem Link-Sousaphones!Wagner tubas-These instruments are not so much tubas as French horns. They are pitched in F and Bb to match horns and use a horn mouthpiece. Their usage is happily confined to a few works of Wagner and Bruckner that only a handful of fanatics still listen to.Tuba d'amore-So closely related to the Tuba d'gamba that they are probably the same thing, these medium size tubas in D are made out of the heart wood of Larch trees with pewter valve assemblies and ferrules. They have a lovely mellow sound which has been compared to the birdsong of emu's. They were much favored by 19th century wandering minstrel tubadours.Alpenhorns- An early valveless large conical bore instrument now used chiefly to amuse tourists in Switzerland and advertise cough drops in the USA. The alpenhorn is not coiled and sticks straight out before the player a distance of 18-36 feet. They are not used much for marching and indoor usage is confined to concert halls having unusually deep stages. Alpenhorns were once used as a means of communication, their low tones being able to carry for miles along alpine valleys. Today they have been replaced by modern technology at AT&T (All-Swiss Tuba and Telegraph Company).Copyright 1997 George Yenetchi

What does bb3 in the answer for how to solve the isis puzzle mean?

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Can you bypass pressure switch on vtec solenoid?

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What types of ensembles use the trumpet?

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